Amazon.com: In the opening scene of Hamlet (1948), Laurence Olivier's voice-over describes the play as "the tragedy of a man who couldn't make up his mind." But Olivier's screen adaptation is considerably more thoughtful and complex than this thesis would suggest. Drawing on his experience playing the prince on stage at Elsinore in 1937, the legendary thespian provides the film with the patina of greatness and shows how the constitution of the formerly cheerful prince weakens increasingly under the burden of his own thoughts and inability to accept his mother's hasty marriage to uncle Claudius (Basil Sydney). As Ophelia, Jean Simmons captures the character's early spirit better than her gradual disintegration. Purists may bemoan the loss of Fortinbras, Rosencrantz, and Guildenstern, but these choices allow Olivier to focus more squarely on Hamlet's plight. The winner of four Oscars® (Best Picture, Actor, Art Direction, and Costumes), this is a Hamlet for the ages. The rest is silence. --Kevin Mulhall
The greatest Hamlet Laurence Olivier's Hamlet is the one which, as I child, I watched and it instilled my love of the play and Shakespeare in general. It is the best of all the Hamlet movies because Olivier is simply the best. No one can speak 'To be or not to be' quite like him. A brilliant movie!
A masterpiece played by a genius actor Hamlet one of the most known masterpieces of Shakespeare brought to us by Sir Laurance Olivier, a giant actor.
Little Hamlet, Happy at Last! This is an interesting experimental Hamlet, which partially succeeds and partially fails. It is a mistake however to consider it a "classic version of a classic" simply because of the Olivier performance and direction. It is somewhat incomprehensible unless someone already knows the whole play, significantly cut here -- nor is this just the nagging objection of a "purist." We are talking about arguably the most significant piece of literature in our language here, the great Sir Larry and all his stage genius or no.
First for the strengths -- chiefly a very classic look, beautiful black and white in this top flight transfer of the original, and great sound too. Olivier as Hamlet looks, as he should, classically kingly and not a boy -- indeed he looks like he just walked off the set of Julius Caesar. He would be king but for the fact his uncle Claudius has murdered Hamlet's king-father, disquised the fact to become usurper-king, and quickly married Hamlet's mother Gertrude who thus remains queen. Olivier's diction has never been better, although sometimes the famous soliloquies are just voice-overs, punctuated by phrases that just leap out of his mouth, "talking to himself"--an experiment that mostly works in this very visually conscious production. The set is done a little in Olivier's famous story-book manner, not entirely realistic, an effect also well done and not over-used. And most of the players are competent and deliver their lines clearly and strong, especially the fine Horatio. Although you slowly start to notice that Olivier as director lets no one upstage him....
And here begins the problem: the elimination of many ambiguitites and complexities, which explain Hamlet's so-called "indecision" and apparent madness, and delay his revenge. For Olivier, like a caged tiger here on all levels, is hardly satisfied with ambiguities or complexities. His Hamlet is never even arguably mad, and never doubts his course -- he is only delayed by pure chance. Gone are Rosencrantz and Guildenstern, and their innane prattle which nevertheless reflects the absurd intellectual climate in which Hamlet has been formally schooled, and thus clogs his brain at key times. Gone is the over-riding political climate of Hamlet's Denmark at war with Fortinbras--a very good reason for delay and for keeping, for the moment, even a bad king. For however "classic" the look, Olivier's Hamlet is modern through and through. Olivier wants things simple and direct like a declarative sentence out of Hemingway. He even places one of his own at the beginning: "This is the tragedy of a man who could not make up his mind." Well, sure -- in part. But why and wherefore? And Olivier goes further. Contrary to text, his Hamlet clearly overhears his girlfriend Ophelia being manipulated by her father Polonius. From then on the Olivier Hamlet openly despises her, no ambiguity or mixed feelings whatsoever, and Olivier the director turns her into a pathetic throw-away role. You find yourself just wishing her poignant mad scenes would just end, that she would shut up, hurry up and drown herself, get out of the movie. And so it goes: everything must revolve around Olivier as Hamlet in Olivier's lordly conception --a super-planet like Jupiter, around which all the other parts become reduced to tiny and rather absurd moons.
Most modern is the big Freudian overlay. Olivier first sets you up with that famous "classic" look and production, so when Hamlet's mother first hungrily kisses him on the mouth you get a jolt. It doesn't stop there, and you soon realize you are looking at something like the prefigurement of a big baby-boomer Hamlet straight out of Dr. Spock, itchy for edgy stimulation. Having thus loved his mother, with perhaps more luscious moments to come, he just can't wait to kill his usurper king stepdad. Now however absurd and false to Shakespeare, it should be pointed out, here at least Sir Larry's well-known bold eccentricities as actor shine. The play ultimately just becomes an occasion for some over the top behavior on camera, a giant spoiled child gone berserk. Indeed, Olivier's pure joy at killing both Polonius and Claudius becomes something marvelous to behold, thrusting the sword in again and again, really digging them in there. Little Hamlet, happy at last! But when Horatio says, at the finale, he would have made a great king, you just shake your head and think--not hardly! More likely an unimaginable despot, an even bigger ego-monster than Claudius. Perhaps post-world war 2 fatique (the film was made in 1948) has set in a little here--a deep suspicion of all kings, princes, and would-be kings as presumptive dictatorial tyrants.
In any event, despite the fact it will make you a little seasick, the film is well worth seeing. Despite its large liberties with Shakespeare, its errors reflect a profound 20th century dislocation--and Olivier is good enough to follow what is bugging him to the end. He makes his eccentricities and lapses not merely his own, but those of his age.
Essential cinema: Olivier's 'Hamlet.' Although the role of Hamlet has attracted many top-rank actors, including Thomas Betterton, David Garrick, Samuel Phelps, Henry Irving, Johnston Forbes-Robertson, John Barrymore {1922 and 1925), Donald Wolfit (1935), Sir Laurence Olivier (1948) Paul Scofield (1949 and 1955), Ian McKellen (1971), Derek Jacobi (1978), and Kenneth Branagh (1996), only Sir Laurence Olivier (1907-1989) received an Oscar for his performance of Shakespeare. In fact, Olivier's Hamlet won four Academy Awards in 1948, including Best Picture and Best Actor. To date, there are no less than 65 motion picture and television versions of the play.
Hamlet expands our understanding of what it means to be alive in the world by asking some of the biggest questions about human existence. Shakespeare's greatest play (1602) is a revenge tragedy, in which the brooding title character seeks revenge for his father's death. It tells the story of Danish Prince Hamlet, who plots revenge on his uncle, Claudius, the current king, for killing his father, King Hamlet. After his mother, Queen Gertrude, hastily marries the usurper, Hamlet feigns madness. His madness is tested with a young woman, Ophelia. In the film, Laurence Olivier plays Hamlet, Basil Sydney plays Claudius, Eileen Herlie plays Gertrude, and Jean Simmons plays Ophelia. Olivier's performance in bringing Shakespeare's melancholy Prince to life is superb.
Although Olivier's 153-minute film represents only half of Shakespeare's original four-hour play, it is nevertheless among my favorite renditions of Shakespeare's masterpiece. The Criterion edition offers a crisp digital transfer of the black and white film, with restored image and sound. Highly recommended.
G. Merritt
misplaced? I don't understand - the title, details, notes and picture are for the Olivier's Hamlet, while selected any of these come as Felix Aylmer's Hamlet. I want to buy the Olivier's Hamlet, not the Felix Aylmer's and there is no way to select it. Can you, please, sort out this?
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